Cirkus Movie Review

For his adaptation of The Comedy of Errors by William Shakespeare, Rohit Shetty infringes on Vishal Bhardwaj’s creative space.

Shakespeare’s play about two sets of identical twins who become mixed up has been adapted for the big screen several times, with Gulzar’s Angoor standing out as the best.

Meet Ranveer Singh's 'Cirkus' family ahead of its trailer launch

Shetty’s formulaic entertainers look and sound the same and are overcrowded, outrageous, excessively bright, and noisy animals eager to laugh the hardest at their own jokes.

Cirkus is all of those, but it’s also really dull and childish.

Take this example: “Darwaza khula rakhna kyonki mein doorbell bajane layak nahi raha,” the man laments while squashing his fingers.

A close-knit environment is the perfect setting for The Comedy of Errors, which was made even funnier by Gulzar’s rhythmic wit and the diverse cast, which was led by Sanjeev Kumar and Deven Verma.

It’s clear that Shetty has seen Angoor, but I’m unsure if he read Shakespeare before deciding on the script—unless mistyping the title is his interpretation of it.

Shetty’s broad approach relies on external diversions and laborious message rather than understanding the revolving door structure of its anarchic humour.

Cirkus, which is set in the 1960s, makes sure that technology does not interfere and allows the director plenty of room to focus on nostalgic excess.

The entire world is a stage, but in Shetty’s eyes everything resembles a recently painted, glitzy tin box.

Be careful if you’re photosensitive since the screen is covered with the gaudiest colours of candy and kitsch.

The visual onslaught must be experienced to be believed. There are vintage automobiles, trains, trams, hotels made of brown brick, workers wearing The Grand Budapest Hotel costumes, promenades and walks covered in flowers in every colour imaginable.

Despite all of its dazzling glitz, the circus itself only contributes minimally to the plot.

Without any stunts or extravagance, Shetty could have named the film Post Office and it wouldn’t have changed a thing. Its time period also lacks context.

It would be like wrapping an empty box of old masterpieces from Bhoot Bangla, Johnny Mera Naam, Prince, and Haath Ki Safai without making them into a joke.

Before fully embracing its fake 1960s vibe, Cirkus goes back in time to the mid-1940s, when Roy (Murali Sharma) and Joy (Uday Tikekar), two former residents of the Jamnadas orphanage, which is well-known to the creators of the Golmaal series, swap one of each set of twins in an effort to demonstrate that parvarish is more powerful than khoon.

The newborn boys’ adoptive parents give both sets of twins the names Roy and Joy. They will simply be referred to as Roy and Joy in Ooty and Roy and Joy in Bangalore, respectively, and portrayed by Ranveer Singh and Varun Sharma.

Roy One possesses a superpower.

He can handle electrical currents with his bare hands and earns a career in the family circus by using high-voltage wires.

His nickname among Ooty residents is Electric Man.

He is wed to Pooja Hegde, a purportedly best-selling novelist, whose motto in life is “Main maa nahi ban sakti.”

Roy 1 refuses to adopt because he thinks khoon is more powerful than parvarish.

Roy 2 is the family company manager and enjoys reading pulp fiction.

Jacqueline Fernandez, his adoring lover, has a rich, conceited fake father (Sanjay Mishra), who sounds like Dev Anand parodying Dev Anand, who is certain that his potential son-in-law is bad.

Trouble starts when he follows Roy 2 and Joy 2 to Ooty, where a trio of thieves, led by Siddhartha Jadhav, their hero the gangster Johnny Lever, a gun-toting aunt, Sulbha Arya, a snake-tattooed cab driver, Vrajesh Hirjee, a jewellery designer who rambles Urdu poetry, Brijendra Kala, and a former dacoit turned

The shoddy writing only has two running jokes in its arsenal of broad humour, adding to the boredom of Shetty regulars performing their vocab-challenged shout and rant routine in ludicrous wigs and garish costumes.

Someone receives a shock. Someone receives a smack.

Even in the lack of new humour, Sanjay Mishra, Siddhartha Jadhav, and Johnny Lever remain dedicated to making their five-year-old followers laugh.

However, Murali Sharma is not Kader Khan, therefore his attempts to break the fourth wall while demonstrating that humanity triumphs over heritage are unsuccessful.

Comedy, not boredom, is where Cirkus forgets to find it.

Despite being considered as Roy 1 and 2’s sidekicks, Joy 1 and 2 are written as siblings.

Deven Varma had bhaang in Angoor. In Cirkus, Varun is not even given a cookie.

The camera will only see the brilliance.

The leads are wholly discoloured.

Ranveer Singh’s middle name is “energy.” He resembles the class clown on a bad day in Cirkus, though.

He portrays both Roys as though they were robots with a single expression and no sense of humour or emotion. Even the always-upbeat Varun Sharma appears to have been grounded for entering a stranger’s party without permission.

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